Herman D Koppel forms an important bridge in Danish music from the style of Carl Nielsen (whose attention was attracted by his early works and of whose piano music Koppel was an ardent champion), via a personal brand of ‘new simplicity’ in the 1930s, towards an eclectic, moderate modernism. Danacord’s historic recordings, of which this set of chamber works is the third instalment, are a valuable complement to the new cycle of symphonies under way from Dacapo.

The picture emerges of a certain dogged streak – either engaging or infuriating, according to taste – and a reluctance to risk vulgarity. Koppel seemingly never put himself on the line and was therefore prevented from making any strong, memorable statement. Nevertheless, his evident respect for the musical materials he inherited and his readiness to venture into new territory without losing his bearings undoubtedly command respect in their turn.

His Second Quartet, the earliest music on these discs, is lithe and neo-classical in a Nielsen-ish way. The likeable, unpretentious first movement is balanced by a quietly determined central Andante and an energetic finale that makes much use of Bartókian additive rhythms. The Third Quartet adds a note of troubled reflectiveness, and in the muted slow movement even a touch of Ravelian sinuosity without ever straying into voluptuousness. The Koppel Quartet, for all the dedication its name would suggest, has acute intonation problems here (the Second Quartet goes better in every respect). Rather remarkably, the Piano Quintet initially declares an affinity with Brahms, before heading off in unpredictable directions and eventually finding itself somewhere in the vicinity of Messiaen.

The cello and piano duos, marvellously played by Erling Bløndal Bengtsson and the composer, once again steer a course through neo-classical waters, with sideways glances towards Bartók, Martin<= and Prokofiev. The later solo Cello Suite and the Piano Trio peek into the whirlpools of atonality, without quite daring to go for total immersion. Whatever style he adopted, Koppel evidently could never bring himself to cast off his native asceticism. ,BR>
Recording quality is as variable as the dates and provenance would lead one to expect. The quartets, Danish Radio recordings from around 1960, sound uncomfortably close and dry, and the Cello Sonata, of similar vintage, also shows its age. The informative booklet gives timings in the margin alongside its descriptive commentaries. Dates for the individual works would have been a useful addition (they were composed between 1939 and 1972).